Does Apple build in obsolescence?

Apple's new laptop can't be repaired by users. But does anyone care?

Apple's new MacBook Pro has been criticised by the do-it-yourself repair company iFixit for being the least repairable laptop in the company's history. They gave it a 1/10 for repairability, highlighting the fact that the RAM is soldered into the motherboard, the battery is glued to the frame, and the screen is bonded to the glass, so that the entire upper lid needs to be replaced if it gets scratched.

Felix Salmon declared that this was part of Apple's "strategy of built-in obsolescence", writing:

Apple’s post-purchase revenue from every one of these new laptops that it sells will be significantly higher than what it’s seeing right now on the MacBook Pro line. . .

Apple Computer became Apple Inc back in 2007, and the overwhelming majority of its half-trillion-dollar market cap has absolutely nothing to do with revenues from selling laptops or desktops. The real money, it turns out, is in flows rather than stocks: the income stream from selling songs and apps, or from a cellphone contract, is much more valuable than a one-off computer purchase.

And it seems to me that with this latest model, Apple is trying to turn its computers into a flow product, too. It’s a beautiful shiny object — but it has much more built-in obsolescence than anything the Pro line has ever had in the past. And the more frequently Apple can persuade its customers to upgrade or replace their computers, the more its Mac operation will be worth. You might adore that Retina display now. But I suspect you’ll be replacing it sooner than you might think.

Some of what Salmon writes is just wrong. The "real money" for Apple has never been in selling songs and apps. The app store paid out $700m to developers in the fourth quarter of 2011, which, with the company's 70:30 split, means they grossed just $300m in that quarter. The company's overall revenue for that quarter was $28.3bn, and it's profit was $6.62bn; well over 20 times what it grossed from the app store. And that $300m doesn't take into account the cost of running the damn thing. Add it all together, and the situation is unlikely to have changed from February 2011, when Apple's then-CFO Peter Oppenheimer confirmed that "we run the App Store just a little over breakeven".

The fact is that Apple sells apps, and music, movies, TV shows and magazine subscriptions, in order to sell hardware. According to Horace Deidu, they make the vast majority of their income and profits from the iPhone, but the Mac and iPad divisions also both comfortably beat software and music sales. Apple has always made its money from selling big-ticket items at a healthy margin every other year or so. The real change for the company hasn't been that it's gone from hardware to software, but from computers to mp3 players and then smartphones.

With that in mind, it is of course still the case – and always has been – that Apple is interested in selling you computers more frequently. That's why they work so hard to cultivate a "gotta have it" air around all their new releases, and why they work hard at customer retention, to ensure that buying a new one is an experience you look back on fondly. But to make the leap from that to "Apple designs its computers to be un-upgradeable so that you buy new ones" misunderstands the company's aims and strengths.

A similar objection to the one Salmon is voicing now was made when the first iPhone came out, in 2007, with a battery sealed in the phone. And the response now is the same as it was then: how could they make what they made without those tradeoffs?

A sealed battery was the price for making a phone which competitors believed was literally impossible, and a bonded screen is the price for shipping a laptop with a resolution of 2880x1800 in a body smaller and lighter than the one which was being replaced.

The real question to be asked of Apple isn't whether they are going from a nice company which sells you infinitely upgradeable computers to a nasty one which deliberately kills yours after two years so you have to buy a new one. The question is whether Apple still views the sort of people who upgrade their computers as a viable market at all.

Salmon cites TUAW's Richard Gaywood, who wrote:

My last MacBook Pro saw a little over 2.5 years as my primary computer, and I would expect no less of any computer I was paying in excess of $2200/£1800 for. In that time, I upgraded the memory once, the hard drive three times, and replaced the battery once. None of these options would be available to me with a new MBPwRD.

Undoubtedly, Gaywood will find the switch in focus from repairability to thinness and lightness painful. But he is simply not the sort of customer Apple can afford to care about. I am hardly a technophobe, but my current MacBook pro has spent the last four and a half years as my primary computer, and in that time I have replaced the battery twice (once under warranty, and once not). That's it.

The cost to Apple of making its laptops black boxes is that the vanishingly small proportion of its customers who are "power users" get annoyed, and maybe some even switch to bulkier, more user-serviceable Windows or Linux machines; the advantage is that it can continue to justifiably claim to make the best computers in the business.

The inside of a MacBook Pro with retina display. Complicated. Photograph: iFixit.com

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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What’s it like to be a human rights activist in post-Pussy Riot Russia?

It is five years since the feminist punk collective crashed Moscow’s Cathedral in a performance that got some of them jailed.

On 21 February 2012, five brightly-dressed members of Russian feminist punk collective Pussy Riot took to the alter of Moscow’s Cathedral of Christ the Saviour to protest links between the Russian Orthodox Church and its “chief saint” Russian President Vladimir Putin. “Virgin birth-giver of God, drive away Putin!” they shouted from beneath now-iconic balaclavas.

The “Punk Prayer” was both a political statement and a powerful feminist message. Six months later, a judge sentenced three of the girls to two years in prison (one was rapidly released) on a conspicuously apolitical conviction of “hooliganism motivated by religious hatred”.

These past five years, Russia’s involvement in crises in Syria and Ukraine has cast a dark shadow over relations with an increasingly cleaved-off West. The year 2015 saw opposition politician Boris Nemtsov murdered some 500 metres from the Kremlin walls.

Domestically, society has constricted people challenging the political status quo. However, low-key initiatives retain traction.

“Artists are simply silent,” says Russian curator and gallerist Marat Guelman, who left for Montenegro in early 2015. “It is better not to say anything about politics, it is better to bypass these issues.”

This is a major difference from five years ago. “Despite persecution against Pussy Riot, people were not afraid to defend them,” he says. “It was a better time.”

There are three topics artists and curators now avoid, says artist and feminist activist Mikaela. One is “homosexuality . . . especially if it involves adolescents”, she says, citing a 2015 exhibit about LGBT teens called “Be Yourself”. Authorities closed it and interrogated the galley owner. “Then the war in Ukraine,” she says. “Russian Orthodoxy is the third topic you cannot tackle.”

Marianna Muravyeva, a law professor at Moscow’s Higher School of Economics, says that aside from the government completely discarding human rights rhetoric, the most significant legal change is the “gay propaganda” law and “legislation against those who insult the feelings of believers”.

The latter came into force in July 2013. Since then, the Orthodox Church has made deeper societal incursions. Muravyeva says that the secular nature of the Soviet Union led to residual feelings of guilt towards the Church – and now it uses that “capital”.

Mikaela observes a “cultural expansion”, citing a new TV channel, radio station and three new churches in her neighbourhood alone.

Orthodox activist attacks on exhibits have increased. In August 2015, they targeted an exhibit at one of Moscow’s most prominent art galleries. Its perpetrators were found guilty of “petty hooliganism” and handed a 1,000 rouble fine (£14 by today’s rates).

“Any word written in Old Slavonic lettering is spirituality,” says Guelman. “Any work of art by a modern artist . . . depravity, sin, the impact of the West.”

Similar groups are active across Russia, and galleries err on the side of caution. Perpetrators, while self-organised, believe their actions to be state-sanctioned, says Muravyeva. They are influenced by “the kinds of messages” conveyed by the government. 

Nowadays, self-organisation is integral to artistic expression. Mikaela witnessed educational institutions and foreign foundations telling artists “we are with you”, “we know you are smart” but they cannot host political works for fear of closure. Not knowing where the “invisible line” lies foments uncertainty. “It’s self-censorship,” she says.

Dissident artist Petr Pavlensky, notorious for nailing his scrotum to the Red Square in late 2013 (“Fixation”) and setting fire to the doors of the FSB in 2015, advocates personal agency.

“Fixation” was about a sense of helplessness in Russia that must be overcome; he tried to convey the amount of power the castrated have. “Pavlensky says, ‘Look, I have even less than you’,” says Guelman. The artist and his partner Oksana Shalygina are now in France intending to seek asylum after sexual assault accusations.

Some rise to the opportunity, such as Daria Serenko. She rides the Moscow Metro carrying political posters as part of Tikhy Piket or “Silent Protest”. Her 12 February sign depicted a girl with her head in her arms inundated by the comments received if a women alleges rape (“she was probably drunk”, “what was she wearing?”).

However, as a lone individual in a public space, she experienced hostility. “Men, as always, laughed,” she posted on Facebook afterwards. Earlier this month an anonymous group pasted painted plants accompanied by anti-domestic violence messages around Omsk, southwestern Siberia.

Their appearance corresponded with Putin signing legislation on 7 February decriminalising domestic abuse that causes “minor harm”. While it doesn’t specifically mention women, Muravyeva says that the message “women can manage on their own” is a “disaster”.

On 27 January, after Russia’s parliament passed the final draft, pro-Kremlin tabloid Life released a video (“He Beats You Because He Loves You”) showing how to inflict pain without leaving a mark.

Heightened social awareness is aided by online networks. Since “Punk Prayer”, the proportion of people using the internet in Russia has exploded. In 2011, it was 33 per cent, while in 2016 it was 73 per cent, according annual Freedom House reports. Authorities have concurrently exerted stronger controls over it, eg. targeting individual social media users through broadly-worded laws against “extremism”.

Last July, the hashtag #ЯНеБоюсьСказать (“#IamNotAfraidtoSay”) went viral. Women documented experiences of sexual violence. Russian organisation Сёстры (“Sisters”), which helps survivors receive psychological support, receives “250-350” crisis calls annually.

“Over the past year, the number of applications increased,” because of the hashtag, it says. New media platforms Meduza and Wonderzine also emerged as more “socially aware” outlets. Previously “all we had was LiveJournal communities,” Mikaela says.

Bottom-up challenges are partially due to a generational shift. “Nobody bothered before,” says Muravyeva. “Those children who were born after ‘95 . . . they were already born in a very free society – they don’t know what it is to be afraid, they don’t know what it is to be self-censoring, what it is to be really scared of the state.”

Aliide Naylor is a British journalist and former Arts and Ideas Editor of The Moscow Times.

> Now read Anoosh Chakelian’s interview with Nadya Tolokonnikova of Pussy Riot